Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Djibouti and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1979.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Blues Magoos to the jazz kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Supertramp. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Sarah Menescal,
EPMD,
Ronan,
Jeru the Damaja,
Scratch Acid,
One Last Wish,
The Motions,
Unrelated Segments,
Second Layer,
Al Stewart,
Alice Coltrane,
The Move,
Kayak,
Lonnie Liston Smith,
Spoonie Gee,
Jacques Brel,
Big Daddy Kane,
It's A Beautiful Day,
Eric Dolphy,
ABBA,
Crispian St. Peters,
Donald Byrd,
Ash Ra Tempel,
Pere Ubu,
Technova,
Alison Limerick,
Brothers Johnson,
The Golliwogs,
The Chocolate Watch Band,
Junior Murvin,
Siglo XX,
Brass Construction,
Mary Jane Girls,
OOIOO,
Marc Romboy vs. Booka Shade,
Marc Almond,
Charles Mingus,
Skriet,
Joe Finger,
Susan Cadogan,
Siouxsie and the Banshees,
Beasts of Bourbon,
The Music Machine,
The Fuzztones,
Delon & Dalcan,
Parry Music,
Juan Atkins,
Depeche Mode,
David Axelrod,
Pussy Galore,
The Dirtbombs,
Gary Puckett & The Union Gap,
Dual Sessions,
Silicon Teens,
Q and Not U,
Notorious BIG live in Amsterdam,
The Offenders,
The Index,
The United States of America,
Ossler,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.